海上丝路不能绕开澳门，而澳门的文学传说应该是丝路文化及其历史中的重要资源。但是，澳门对待古今重要文学家遗迹的态度一向谨慎，这为文化建设和讲述历史故事带来了一定的困扰。

应该从贾梅士的传说以及澳门遗迹认定中获得启示，大胆地认定汤显祖、郁达夫等重要文人在澳门的遗迹与故事，为澳门的文化历史增添一些历史文化的光泽。这需要学者去总结，去论证，去做工作，然后去呼吁，为澳门文化历史和丝路文学历史开拓更多的资源。

许多人将澳门文学的起点与汤显祖来澳并作《香岙逢贾胡》《听香山译者》诸诗联系在一起，由此引起了长久不衰的学术论争。包括汤显祖研究专家徐朔方教授在内的许多学者都对汤显祖到过澳门一事深信不疑，并且言之凿凿：“（万历十九年）十一月初七日，（汤）从广州舟行到香山岙，即今澳门。”既然如此杰出的文学家早在刚刚被租借40年的时候就光临过这个弹丸之地，则文学史家有理由将这一事件视为澳门文学的起点，于是有论者称，汤显祖游历澳门所撰诗章，“这是澳门诗词史甚或文学史开卷之篇章”。研究澳门文学史的专家大多持类似论点。

然而，由于年代久远，除汤显祖作品等可充旁证外并无直接书证，汤显祖之游览澳门一说远未成为定论，因而质疑之声每有出现。另一位汤显祖研究专家黄芝冈先生显然不支持汤显祖游览澳门说。他这样描述汤显祖万历十九年入粤后的游历行迹：“到去年冬至日，汤已到达南海和番禺了，这时候，更写了……《听香山译者》《香岙逢贾胡》等很多的诗。汤到番禺后，曾往东莞，并曾游罗浮。”然后就是“由恩平抵阳江”了，完全抹去了香山一带的行迹。黄芝冈先生对汤显祖与澳门关系问题的冷漠固然令澳门文学的热心人不快，但学者的审慎同样令人钦佩，更重要的是，黄先生的这种冷处理为人们认识汤显祖与澳门的关系问题提供了一条有价值的启示：《香岙逢贾胡》即便说明汤氏到过香山墺，也不能说明这首诗就写于那时的澳门，至于《听香山译者》，则未必就是在香山听到香山译者的，更不能判断在香山写了这样的诗。

从《香岙逢贾胡》这首诗的题名即可判断，汤显祖到过澳门的可能性极大。1580年澳门建起了圣保罗教堂，在广东南部地区一定是相当闻名，对官场失意而游兴很浓的汤显祖来说一定有很大的吸引力，这也是他在《牡丹亭》中写到“一领破袈裟，香山岙里巴”的香山岙多宝寺“住持”的缘由。但他的诸多诗篇是否写于澳门，则很值得怀疑，因为他即便来澳门游历，时间也相当短暂。不过无论如何，人们普遍愿意将澳门文学的起点与这位伟大的文学家连在一起，在这样的情感前提之下，对于他是否确曾到过澳门，在澳门盘桓几日，游览过哪些景点，居留在何处等等，既无法一一落实，也乐得不求甚解。这位伟大的文学家与澳门有关，澳门的风土人情引起了他的关注，并且进入了他的经典性写作，这些就足以令后人在想象中将汤显祖与澳门和澳门文学联系在一起。历史确实赋予了澳门这种关于汤显祖的想象的权力。

郁达夫1926年冬曾由香港到澳门小住，并以此行为背景写下了现代文学史上的名篇《过去》。作者感叹澳门充满着“一种衰颓的美感，一种使人可以安居下去，于不知不觉的中间消沉下去的美感”，但他由此激起的不是他的诗兴，而是他对于青春已逝、情缘不再的一种灰暗颓丧的情绪。这篇小说似乎是一个象征，象征着澳门本来具有的、足以激发诗人诗兴的诗意美，已经转化为一种包含现代伤情与怅然的故事。澳门应该是孕育现代故事的地方，只可惜南来北往匆匆而过的文人缺少发现故事的余裕，更可惜澳门本地的文学家缺少关注故事的兴趣。澳门始终是诗歌的热土。非常吊诡的是，郁达夫日记里没有写到澳门，也没有写到达澳门的事情，这可能有私人的原因。从小说描写的具体性、细节性来看，郁达夫应该是到过澳门，而且住在西望洋阁附近。我们通过文本分析可以寻找到这之间的蛛丝马迹。

Macau: Imagining The Traces Of Literary Figures

Zhu Shoutong (Macau,China) 

When it comes to the Maritime Silk Road, Macau is a place that cannot be skipped, and the legends surrounding Macau literature are important resources for the culture and history of the Silk Road. However, as scholars are always cautious about the traces of great ancient and modern literary figures in Macao, the cultural development and the narration of historical stories are faced with certain difficulties.

We should be inspired by the legend of Luís Vaz de Camões and the recognition of his works about Macau and acknowledge the traces and works of other important authors such as Tang Xianzu and Yu Dafu in Macau so as to add more luster to Macau culture and history. This requires more efforts from scholars to summarize, demonstrate and call on support so that they can explore resources for the cultural and history of both Macau and the Silk Road.

Many scholars identify Tang Xianzu’s short trip to Macau and his poems such asMeeting Foreign Traders in Xiang Ao and Listens to Xiangshan Translator as the starting point of the emergence of Macau Literature, which leads to the everlasting academic debates. A lot of scholars including Professor Xu Shuofang who specializes in the study of Tang Xianzu firmly believed that the playwright once visited Macau and he stated with certainty that on November 7th of the 19th year of Wanli (1591), he (Tang Xianzu) took the boat from Guangzhou to Xiangshan Ao, which is today’s Macau. Since such an outstanding literary figure visited this tiny place around 40 years after it became a Portuguese overseas settlement, it is reasonable for literature historians to see the event as the beginning of Macao Literature. Some believe that his poems written during his sojourn in Macau constituted “the first chapter for the history of Macau poetry and even of Macau Literature”. Most scholars studying the history of Macau Literature share similar opinions.

However, since it has been hundreds of years and there are no other documentary evidences except for Tang’s works as the circumstantial evidence, no final conclusion has yet been made on his trip to Macau. Therefore, questions have been raised from time to time. Mr. Huang Zhigang, another expert in the study of Tang Xianzu, clearly doesn’t support this view. He described the itinerary of Tang’s trip in Guangdong in 1591 that “by the winter solstice of the year before, he already arrived at Nanhai and Panyu. During this period, he wrote many poems including Meeting Foreign Traders in Xiang Ao and Listens to Xiangshan Translator. After that, he went to Dongguan and traveled to Mount Luofu”. And then “he went pass Enping and arrived in Yangjiang”. This description completely erased his traces around the Xiangshan area. Even though Huang’s indifference to the relation between Tang Xianzu and Macau may upset many enthusiasts for Macau Literature, his prudent approach deserves admiration. More importantly, his cool-headed analysis provides a valuable inspiration for people to understand the connection between Tang and Macau: even if Meeting Foreign Traders in Xiang Ao can prove that Tang visited Xiangshan Ao, it cannot prove that the poem was written in Macau at that time. As for Listens to Xiangshan Translator, it doesn’t necessarily indicate that the poem was inspired by words of translator in Xiangshan, or that the poem was written when the poet visited Xiangshan.

From the title Meeting Foreign Traders in Xiang Ao, we can tell that Tang’s visit to Macau probably happened. In 1580, the Church of St. Paul was built and became a famous site across southern Guangdong. And it could be very attractive for Tang Xianzu who was discouraged by the officialdom and had great interest in travelling. And it is also the reason that he mentioned “Buddhist monk” in the verse “In a ragged sakaya here and now, I am a Buddhist monk in Macau” in The Peony Pavilion. However, it is doubtful whether these poems were written in Macau because even if he travelled in Macau, it was only for a short period. Nevertheless, people like to connect the starting point of Macau literature with this great master of literature. In such circumstance, people cannot verify questions one by one such as whether he really visited Macau or not, how many days he stayed, which scenic spots he visited and where he lived during his sojourn, and they willingly let them pass. This great author is connected to Macau, he noticed local customs and practices and included them into his classic works, all of which are sufficient for later generations to imagine the link between Tang Xianzu, Macao and Macao Literature. History endowed Macau with the power to have imagination around Tang Xianzu.

In the winter of 1926, Yu Dafu sojourned in Macau after he went to Hong Kong. Based on this experience, he created the novel Guoqu (The Past), a work widely-acclaimed in the history of modern literature. The author described Macau as “a place full of decadent beauty, a beauty that makes people settle down and feel depressed without noticing”. What he felt was not the urge for poetic creation, but a gloomy and melancholy emotion when he witnessed the loss of youth and love. This novel serves as a symbol that the original poet-inspiring beauty Macau owned has turned into a story-inspiring environment filled with a sense of loss and sorrow. Macau is supposed to be a place that breeds modern stories. But writers from the north and the south shortly passed by and didn’t have spare energy for creating new stories, while local writers had little interest in stories. Macau remains a hotbed for poetry. What is paradoxical is that Yu Dafu didn’t mention Macau in his diary, nor did he mention his experience here, which may be due to some personal considerations. But judging from the specific details in his novel, Yu Dafu visited Macau and lived close to The Our Lady of Penha Church.We can find some clues through text analysis.